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“The Bride” floor lamp is a braided lamp, with references to the traditional hairstyle of Latvian brides. Definitely – unique lamp, certainly – emotional lamp, absolutely – feminine lighting design.
The Bride’s “dress” is created from paper presenting this traditional lamp material in unique design solution. As light shines through the paper, you will find yourself infused by an aura of airy lightness; almost as if the splendid lamp were not subject to the law of gravity.
Entirely handmade, each “Bride” lamp has her own braid pattern and unique personality. Each lampshade interacts with the light and space uniquely, providing highly emotional lighting design. These lamps provide diffused lighting. Lamps are designed and handmade exclusively by Mammalampa.
The author of \"mammalampa’s\" collection of lamps and its signature designs is designer, Ieva Kalēja
She has obtained a Bachelor’s degree in Visual Art in The Art Academy of Latvia and a Master’s degree at the Domus Academy in Milan.
Her work is characterised by the fusion of art and design. In her creative work, she has chosen to step outside the realm of virtual thinking; she finds real things and new ways of applying natural materials, thus forming her signature style. Design ideas are inspired by everything primeval, that comes form mother nature and that is not stamped with cliches of the values. For instance, bent in a meadow or pile of wood She offers a new aesthetic, in which the natural harshness of materials is contrasted with their perfect refinement. This is characterised by the contemporary interpretation of \"handmade\", i.e. not replacing machines, but finding those items which machines cannot provide, nuances of refining materials through natural processes.
Currently Ieva Kalēja works at the Art Academy of Latvia and Latvian Design Centre - the most significant institutions of design in Latvia.
The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented.
How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure?
How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment?
Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference?
The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.
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